Kirkham, Pat: The Jeweller's Eye. In: Sight & Sound NS 7, April 1997, pp. 1819.A discussion of Saul Bass's remarkable title sequence for Alfred Hitchcock's Vertigo. Bass pioneered a new type of title sequence that was a moodsetting opening and that acted in the same way as a musical overture might.

Pomerance, Murray: Finding release: An analysis of the cantata sequence from The Man Who Knew Too Much. In: Music and cinema. Ed. By James Buhler, Caryl Flinn, and David Neumeyer. Middletown, Conn.: Wesleyan University Press 2000, pp. 207-246.

Saada, Nicolas: Vertige de la musique. In: Cahiers Du Cinéma, 511, Mars 1997, p. 25.Inspired by Wagner's Tristan and Isolde, the work is one of cinema's bestknown soundtracks and has often been imitated. It plunges the listener into a neverending pit with a sophisticated melodic construction that refuses to come to a climax.

Smith, Susan: Hitchcock: suspense, humour and tone. London: BFI Publishing 2000, xiii, 162 S.Films discussed in depth include Murder! (1930), Sabotage (1936), Rope (1948), and The Birds (1963). There are chapters on each of the topics mentioned in the title. Close attention is given to the use of music and sound in the films.

Sullivan, Jack: Hitchcock's music. New Haven: Yale University Press, 2006, xix, 354 pp.Inhalt: Overture The music starts Waltzes from Vienna: Hitchcock's forgotten operetta The man who knew too much: storm clouds over Royal Albert Hall Musical minimalism: British Hitchcock Rebecca: music to raise the dead Waltzing into danger Sounds of war Spellbound: theremins and phallic frescoes Notorious: bright sambas, dark secrets The paradine case: the unhappy finale of Hitchcock and Selznick Hitchcock in a different key: the postSelznick experiments The band played on: a Tiomkin trio Rear window: the redemptive power of popular music Lethal laughter: Hitchcock's fifties comedies The man who knew too much: Doris Day versus the London Symphony The wrong man: music from the dark side of the moon Sing along with Hitch: music for television Vertigo: the music of longing and loss North by northwest: fandango on the rocks Psycho: the music of terror The birds: aviary apocalypse The music ends: Hitchcock fires Herrmann Topaz: the music is back Frenzy: out with Mancini, hold the Bach Family plot: Hitchcock's exuberant finale Finale: Hitchcock as maestro.

Weis, Elizabeth: Music and murder: The association of source music with order in Hitchcock's films. In: Ideas of order in literature and film. Selected papers from the Fourth Annual Florida State University Conference on Literature and Film. Ed. by Peter Ruppert. Tallahassee: University Presses of Florida 1980, S. 73-83.